If the imprecision in Todd Chilton's work (discussed in the previous post) is the result of a slow, intuitive process, the drips and imprecision in Amy Feldman's work, on view at Blackston through July, have become calculated gestures.
Her punctuated, icon-like abstractions are derived from her drawing practice, and the same seemingly casual attitude is translated from drawing to painting. The images in her drawings, practiced and rehearsed many times over, are studied provocations, decisive and spontaneous --fortuitous indicators for her paintings. Feldman reaches a desired balance in her work. Awkward yet poised, her paintings evoke a toxic-classicism, stunning with their purity and imperfection. (via Blackston)Feldman's earlier work uses the same irregular forms, monochromatic format, and drippy paint handling, although on a much smaller scale. At Blackston, her first NYC solo show, Feldman quotes herself, creating large-scale versions of her earlier images, a strategy that reveals, for better or worse, a young artist in the process of creating a brand.
Amy Feldman, All or Nothing, 2012, acrylic on canvas 96 x 80 inches.
Amy Feldman, Pressure Points, 2012, acrylic on canvas 80 x 90 inches.
Amy Feldman, Owed, 2012, acrylic on canvas 80 x 80 inches.
Amy Feldman, In & Out, 2012, acrylic on canvas 75 x 80 inches.
"Amy Feldman: Dark Selects," Blackston, Lower East Side, New York, NY. Through July 27, 2012.
February round up: Handmade, utopic, urgent and obsessive (February 2012)
MsBehavior in Chelsea (May 2012)
The New Casualists (June 2011)
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